Joel Edgerton Quotes

I always think the really unfortunate thing about the Australian film industry is its lack of momentum. And I don't mean this in a derogatory way. I'm always wanting it to pick up momentum, and I'm wondering if that's even possible.

Britain has nurtured me and made me able to make movies that have travelled round the world.

I kind of worry about that a little bit - we lost our film culture for 30 years because the Americans came in and bought up all the cinema chains and wouldn't show any Australian films.

Danish film is spreading in a fantastic way.

I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.

I will always come back to do Australian films. I think it matters. I think we can make films that people go and see. And I don't think it's too much to ask that films in this country make a profit and that we embrace them.

Tender Mercies is a very low-budget film, but it was a huge budget compared to anything I had done in Australia. My fee for Tender Mercies was something like five times all of my Australian films combined.

I've made movies where people say it's their favourite, but they don't take it seriously because it just didn't seem to break through commercially.

Some independent Indian films do so well at these festivals in Europe and in the United States that when they come back, India just cannot ignore them.

Having a couple of films that were successful internationally has made the film community aware of the films coming out of Greece.

I've always said that, first and foremost, I make films for New Zealanders. They're my target audience. Then after that, if people appreciate my stories from outside this country, then that's an added bonus.

My detractors are only accusing me of blowing up cars. What they have not realised is that my films have the potential to cross language barriers. New avenues have opened for Hindi films, and I'm proud and happy about it.

I just wanted to do this all Australian film and we didn't want to give creative control to overseas 'cause whoever comes on my sets, whether you're sweeping the floor or an actor, it doesn't matter who comes up with the ideas, it's a collaboration.

I don't think the audience always listens to the critics. That's been proven time and time again.

I felt perhaps 'The Girl with the Dragon Tattoo' was a little premature. It was a huge hit around the world - it was still running in the theatres - and the Americans at that time were already shooting the remake, and I was like, 'Whoa! Give it a break of five or six years and get a little inspired, and then do it.'

The Australian film industry is a small industry, so you have to really be flexible within working in different mediums. A lot of actors work in theater, film, and television, because there's not much opportunity in terms of employment there. So you do have to be resourceful and be able to flex your muscles artistically.

I think some of my favorite Australian films were shot by people that are not Australian. And I think when Dean Semler did 'Dances with Wolves,' for instance, that's a very different-looking Western than what you've seen much of before. It's very rich, color-wise. But we've got our own very proud thing going on.

I'd love to work with the people who really got the film industry going again through the '70s: Peter Weir, Bruce Beresford, Gillian Armstrong, Fred Schepisi.

I still, by and large, make low-budget Australian films.

National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word 'industry' is misleading. A small national cinema has no industry in the Hollywood sense.

If 'American Beauty' came out today, it wouldn't make nearly as much money.

From 'Polytechnique,' I started to get scripts and after 'Incendies,' of course, it exploded.

The film industry is large enough and has many successful icons that have taken Indian cinema to shores beyond India. I think that Indian cinema itself needs to be applauded beyond one individual.

This worldwide spread of recognition is insane. I was brought up in a small country. If you made a Swedish film that just got into a film festival somewhere, that was like the biggest thing you could wish for.

'Srimanthudu' is a film very close to my heart. It's my first production, and I'm more than happy with its performance at the box office.